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  • Editorial
    The question of the possibility of art to reflect and influence local political situations has, indeed, always been the main focus of this journal. The meaningful but just as often problematic intervention of art in the narrative of place and places is well illustrated in the articles in this issue.
  • ‘The Public World is My Studio’: Jeremy Deller’s Public Projects
    BY HOLLY ARDEN. In 2009, the English artist Jeremy Deller travelled across the US with the rusted and deformed shell of a car that had been destroyed by a bomb in an Iraqi street. With this wreckage tied on the back of a trailer, Deller stopped at multiple sites along the route to hold conversations with passers-by that were inspired by this unusual cargo—part of a project titled It Is What It Is: Conversations About Iraq.
  • The fire and its embers Part 2
    BY SYD KROCHMALNY. In the wake of severe economic and social crisis in 2001, Argentina became known as a hotspot of self-managed artistic initiatives, a hunting ground for the world’s curators. Today, this tradition of collaborative artistic activity endures, but with different coordinates reflecting an economy that has doubled in size and a more democratic society in which the contours of social conflict have changed.
  • Willem Boshoff's Visual Lists: A Personal Plea for Cultural Preservation
    BY ANTONIA DAPENA-TRETTER. The abundance of materials available suggests a possible insecurity on the part of the artist to allow his works to stand alone, but it might also express Boshoff's compulsion to communicate and the urgency of his message. Reading through his portfolio and corresponding artist statements, one becomes acquainted with a man whose love for books and language is equally rivaled by his hatred of dogma or intellectual power plays that cannot be severed from their imperialistic roots.
  • Creative Placemaking: How to embed Arts-led processes within cultural regeneration?
    BY ANITA MCKEOWN. The initiation of a process of self-organised CP is achieved through the creation of opportunities to reveal and actualise local potential and resources and by encouraging emergent adaptive behaviour and resilient practices from the inside out.
  • Reading conflict on the walls of Buenos Aires, part 2
    BY GEORGE KAFKA. The debates over the place of both advertisements and graffiti in modern society cover remarkably similar ground. Both provoke considerations of public/private ownership of urban space, the aesthetic qualities of the city and citizen identity.The overlap between these two forms of urban media is particularly evident in two recent examples of Latin American cities’ urban cleanliness policies: ‘cidade limpia’ [clean city] in Sao Paolo and ‘limpiar la ciudad’ [clean the city] in Buenos Aires.
  • Isolation, index and faith: Canudos and the invisibility of Sertões
    BY MANOEL SILVESTRE FRIQUES. After an interruption of 46 years, the Bahia Biennale of visual arts opened its third edition on May 29, 2014, by asking: Is Everything Northeast? At the most explicit level, the project addressed the limits of official norms and definitions, since Northeast was a term created in 1969 (just one year after the abortion of the second edition of Biennale by the dictatorial government) by the Brazilian Institute of Geography and Statistics (IBGE)